One of my favourite pianists . He went to Jamaica in the 1950’s and was well received . I love his use of block chords his sense of deceptive harmony his touch & approach was sublime . Correct me if I’m wrong !
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Great review of a contemporary song! Toward the end of m2, I would have felt somewhat obliged to move from the E (leading tone) to F. Shearing avoids this voice leading issue by tucking in a quick C eighth note before m3. Was Shearing using a technicality to avoid the voice leading problem, or did he just not care in this case? Or maybe something else?
Nice insight ...but the chord mentioned in bar 1 is Db7 which is a dominant chord. ( in non classical music dom 7th is a type of chord , In Classical music it's a diatonic chord on degree V of major / minor key.) Also the Ab 7 again ....I 7 and IV 7 are major 7th chords. I have the original score which is in a different key with different harmony. If the chord is Db 7 it's a tritone sub ..the D natural is enharmonic b 9. The same with the E natural for Eb 7 . From the classical point the Db 7 looks the the chord of the aug 6 th but doesn't resolve the usual way and so is not. If the chords mentioned above are maj 7 th ( error chord symbol ?) then they are just diatonic seventh chords.
As with all these songs the harmony gets varied depending on who is performing it. You’re right that chords you mention are treated as diatonic 7ths in this example.
Disregarding for the moment modal borrowing and the raising and lowering of chords (for example Db rather than D), noticing there’s a lot of five one movement in these eight bars D G C F once B E A on two occasions
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Another stimulating analysis. Thank you, Gareth!
Glad you enjoyed it
One of my favourite pianists . He went to Jamaica in the 1950’s and was well received . I love his use of block chords his sense of deceptive harmony his touch & approach was sublime . Correct me if I’m wrong !
Absolutely
Expert analysis and explanation as always, thanks
Too kind
As a starting musician, this was an excellent explanation for understanding "modern" music much better. Thank you and please more of this!
A pleasure. Much more at www.mmcourses.co.uk including details of our online courses and of our exciting Maestros programme. If you value this channel and would like to help us continue to share and develop the content please consider supporting us as a level 1 Maestro by clicking here ruclips.net/channel/UC8yI8P7Zi3yYTsypera-IQgjoin Alternatively you can express your support for the channel by clicking on the Super Thanks button beneath any of our videos. Thank you.
What an interplay between compositional techniques discovered! What an inspirational jazz piano playing!
It’s a great song
Another fascinating analysis! Thank you.
A pleasure
I love these analyses of great compositions. Many thanks!
I’m glad it’s helpful
I like those *brave* chords choice 😀
They’re great
Right up my street .Thanks !
Excellent
Very explicit analysis !
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Great review of a contemporary song! Toward the end of m2, I would have felt somewhat obliged to move from the E (leading tone) to F. Shearing avoids this voice leading issue by tucking in a quick C eighth note before m3. Was Shearing using a technicality to avoid the voice leading problem, or did he just not care in this case? Or maybe something else?
Who knows but it works brilliantly
Very educational.
Glad it’s helpful
Thank you
A pleasure
Nice insight ...but the chord mentioned in bar 1 is Db7 which is a dominant chord. ( in non classical music dom 7th is a type of chord , In Classical music it's a diatonic chord on degree V of major / minor key.)
Also the Ab 7 again ....I 7 and IV 7 are major 7th chords.
I have the original score which is in a different key with different harmony.
If the chord is Db 7 it's a tritone sub ..the D natural is enharmonic b 9. The same with the E natural for Eb 7 .
From the classical point the Db 7 looks the the chord of the aug 6 th but doesn't resolve the usual way and so is not.
If the chords mentioned above are maj 7 th ( error chord symbol ?) then they are just diatonic seventh chords.
As with all these songs the harmony gets varied depending on who is performing it. You’re right that chords you mention are treated as diatonic 7ths in this example.
Yes. The E natural in m6 is really Fb as well, making a Dbm chord.
@@EJP286CRSKW m6 how from which two notes ?
WOW, this is great. Why did it sound so lush? (warm and rich).
Lovely warm extended chords
Wow awesome 😎
That’s kind
Quite interesting ❤
That’s good
Hi Gareth.can you talk about ellipsis in harmony?🌷 Thanks
Sure
@@MusicMattersGB best teacher ever🌹
You’re most kind
Disregarding for the moment modal borrowing and the raising and lowering of chords (for example Db rather than D), noticing there’s a lot of five one movement in these eight bars
D G C F once
B E A on two occasions
The V I relationships are certainly strong